The predictive mind and the experience of visual art work

Imagination vs. routines: festive time, weekly time, and the predictive brain

This paper examines the relationship between societal structures shaped by traditions, norms, laws, and customs, and creative expressions in arts and media through the lens of the predictive coding framework in cognitive science. The article proposes that both dimensions of culture can be viewed as adaptations designed to enhance and train the brain's predictive abilities in the social domain. Traditions, norms, laws, and customs foster shared predictions and expectations among individuals, thereby reducing uncertainty in social environments. On the other hand, arts and media expose us to simulated experiences that explore alternative social realities, allowing the predictive machinery of the brain to hone its skills through exposure to a wider array of potentially relevant social circumstances and scenarios. We first review key principles of predictive coding and active inference, and then explore the rationale of cultural traditions and artistic culture in this perspective. Finally, we draw parallels between institutionalized normative habits that stabilize social worlds and creative and imaginative acts that temporarily subvert established conventions to inject variability.

The impact of crossmodal predictions on the neural processing of aesthetic stimuli

Neuroaesthetic research has focused on neural predictive processes involved in the encounter with art stimuli or the related evaluative judgements, and it has been mainly conducted unimodally. Here, with electroencephalography, magnetoencephalography and an affective priming protocol, we investigated whether and how the neural responses to non-representational aesthetic stimuli are top-down modulated by affective representational (i.e. semantically meaningful) predictions between audition and vision. Also, the neural chronometry of affect processing of these aesthetic stimuli was investigated. We hypothesized that the early affective components of crossmodal aesthetic responses are dependent on the affective and representational predictions formed in another sensory modality resulting in differentiated brain responses, and that audition and vision indicate different processing latencies for affect. The target stimuli were aesthetic visual patterns and musical chords, and they were preceded by a prime from the opposing sensory modality. We found that early auditory-cortex responses to chords were more affected by valence than the corresponding visual-cortex ones. Furthermore, the assessments of visual targets were more facilitated by affective congruency of crossmodal primes than the acoustic targets. These results indicate, first, that the brain uses early affective information for predictively guiding aesthetic responses; second, that an affective transfer of information takes place crossmodally, mainly from audition to vision, impacting the aesthetic assessment. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Aesthetics and predictive processing: grounds and prospects of a fruitful encounter

In the last few years, a remarkable convergence of interests and results has emerged between scholars interested in the arts and aesthetics from a variety of perspectives and cognitive scientists studying the mind and brain within the predictive processing (PP) framework. This convergence has so far proven fruitful for both sides: while PP is increasingly adopted as a framework for understanding aesthetic phenomena, the arts and aesthetics, examined under the lens of PP, are starting to be seen as important windows into our mental functioning. The result is a vast and fast-growing research programme that promises to deliver important insights into our aesthetic encounters as well as a wide range of psychological phenomena of general interest. Here, we present this developing research programme, describing its grounds and highlighting its prospects. We start by clarifying how the study of the arts and aesthetics encounters the PP picture of mental functioning (§1). We then go on to outline the prospects of this encounter for the fields involved: philosophy and history of art (§2), psychology of aesthetics and neuroaesthetics (§3) and psychology and neuroscience more generally (§4). The upshot is an ambitious but well-defined framework within which aesthetics and cognitive science can partner up to illuminate crucial aspects of the human mind. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Being alive to the world: an artist's perspective on predictive processing

I consider predictive processing (PP) from the perspective of an artist who also conducts scientific research into art and perception. This paper presents artworks I have made and statements from other artists that exemplify some of PP's core principles. But it also raises questions about the extent to which current applications of PP theory provide a comprehensive account of art experience. Prediction error minimization, a key mechanism of PP, has been proposed as a cause of positive aesthetic affect because artworks offer opportunities for reward through disambiguation and learning. However, there are many cases where prediction errors proliferate in art experiences in a way that enhances aesthetic affect. Here I suggest the inability of our perceptual systems to minimize prediction errors when beholding certain artworks can evoke heightened states of fascination and exhilaration. Moreover, powerful artworks provide opportunities for maximizing prediction errors, within certain bounds, by evoking states of paradox, contradiction and illogicality. I conclude that beholding such artworks can intensify our sense of being by making us more alive to the world. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Metaphors or mechanism? Predictive coding and a (brief) history of empirical study of the arts

Predictive processing (PP) offers an intriguing approach to perception, cognition, but also to appreciation of the arts. It does this by positing both a theoretical basis-one might say a 'metaphor'-for how we engage and respond, placing emphasis on mismatches rather than fluent overlap between schema and environment. Even more, it holds the promise for translating metaphor into neurobiological bases, suggesting a means for considering mechanisms-from basic perceptions to possibly even our complex, aesthetic experiences. However, while we share the excitement of this promise, the history of empirical or psychological aesthetics is also permeated by metaphors that have progressed our understanding but which also tend to elude translation into concrete, mechanistic operationalization-a challenge that can also be made to PP. We briefly consider this difficulty of convincing implementation of PP via a brief historical outline of some developments in the psychological study of aesthetics and art in order to show how these ideas have often anticipated PP but also how they have remained at the level of rather metaphorical and difficult-to-measure concepts. Although theoretical in scope, we hope that this commentary will spur researchers to reflect on PP with the aim of translating metaphorical explanations into well-defined mechanisms in future empirical study. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Repeating patterns: Predictive processing suggests an aesthetic learning role of the basal ganglia in repetitive stereotyped behaviors

Recurrent, unvarying, and seemingly purposeless patterns of action and cognition are part of normal development, but also feature prominently in several neuropsychiatric conditions. Repetitive stereotyped behaviors (RSBs) can be viewed as exaggerated forms of learned habits and frequently correlate with alterations in motor, limbic, and associative basal ganglia circuits. However, it is still unclear how altered basal ganglia feedback signals actually relate to the phenomenological variability of RSBs. Why do behaviorally overlapping phenomena sometimes require different treatment approaches-for example, sensory shielding strategies versus exposure therapy for autism and obsessive-compulsive disorder, respectively? Certain clues may be found in recent models of basal ganglia function that extend well beyond action selection and motivational control, and have implications for sensorimotor integration, prediction, learning under uncertainty, as well as aesthetic learning. In this paper, we systematically compare three exemplary conditions with basal ganglia involvement, obsessive-compulsive disorder, Parkinson's disease, and autism spectrum conditions, to gain a new understanding of RSBs. We integrate clinical observations and neuroanatomical and neurophysiological alterations with accounts employing the predictive processing framework. Based on this review, we suggest that basal ganglia feedback plays a central role in preconditioning cortical networks to anticipate self-generated, movement-related perception. In this way, basal ganglia feedback appears ideally situated to adjust the salience of sensory signals through precision weighting of (external) new sensory information, relative to the precision of (internal) predictions based on prior generated models. Accordingly, behavioral policies may preferentially rely on new data versus existing knowledge, in a spectrum spanning between novelty and stability. RSBs may then represent compensatory or reactive responses, respectively, at the opposite ends of this spectrum. This view places an important role of aesthetic learning on basal ganglia feedback, may account for observed changes in creativity and aesthetic experience in basal ganglia disorders, is empirically testable, and may inform creative art therapies in conditions characterized by stereotyped behaviors.

Beauty and Uncertainty as Transformative Factors: A Free Energy Principle Account of Aesthetic Diagnosis and Intervention in Gestalt Psychotherapy

Drawing from field theory, Gestalt therapy conceives psychological suffering and psychotherapy as two intentional field phenomena, where unprocessed and chaotic experiences seek the opportunity to emerge and be assimilated through the contact between the patient and the therapist (i.e., the intentionality of contacting). This therapeutic approach is based on the therapist’s aesthetic experience of his/her embodied presence in the flow of the healing process because (1) the perception of beauty can provide the therapist with feedback on the assimilation of unprocessed experiences; (2) the therapist’s attentional focus on intrinsic aesthetic diagnostic criteria can facilitate the modification of rigid psychopathological fields by supporting the openness to novel experiences. The aim of the present manuscript is to review recent evidence from psychophysiology, neuroaesthetic research, and neurocomputational models of cognition, such as the free energy principle (FEP), which support the notion of the therapeutic potential of aesthetic sensibility in Gestalt psychotherapy. Drawing from neuroimaging data, psychophysiology and recent neurocognitive accounts of aesthetic perception, we propose a novel interpretation of the sense of beauty as a self-generated reward motivating us to assimilate an ever-greater spectrum of sensory and affective states in our predictive representation of ourselves and the world and supporting the intentionality of contact. Expecting beauty, in the psychotherapeutic encounter, can help therapists tolerate uncertainty avoiding impulsive behaviours and to stay tuned to the process of change.

Timing is everything: Dance aesthetics depend on the complexity of movement kinematics

What constitutes a beautiful action? Research into dance aesthetics has largely focussed on subjective features like familiarity with the observed movement, but has rarely studied objective features like speed or acceleration. We manipulated the kinematic complexity of observed actions by creating dance sequences that varied in movement timing, but not in movement trajectory. Dance-naïve participants rated the dance videos on speed, effort, reproducibility, and enjoyment. Using linear mixed-effects modeling, we show that faster, more predictable movement sequences with varied velocity profiles are judged to be more effortful, less reproducible, and more aesthetically pleasing than slower sequences with more uniform velocity profiles. Accordingly, dance aesthetics depend not only on which movements are being performed but on how movements are executed and linked into sequences. The aesthetics of movement timing may apply across culturally-specific dance styles and predict both preference for and perceived difficulty of dance, consistent with information theory and effort heuristic accounts of aesthetic appreciation.

Neuro-aesthetics and the iconography in photography

Can neurosciences explain art? No, but it can help us to understand why some images are more memorable and, thus, more successful than others. This article aims to identify certain factors that may influence the artistic success of photographic images. These factors are discussed within the contexts of basic neuropsychological concepts, visual perception, and visual memory. A new computational and neuroscientifically based model, the predictive coding theory, provides a powerful framework for integrating social and individual factors that influence aesthetic experience and activity. A case study of Dorothea Lange's iconic photograph Migrant Mother demonstrates the importance of identifiable factors that influence and determine a photograph's potential success. We are convinced that a future systemic approach will enable the complementary integration of neuroscientific, perceptual, cognitive, emotional, and sociopsychological insights through the framework of predictive coding theory with socioscientific, art-theoretical, and art-historical as well as neuro- and behavioral-economical models.

Beauty in mind: Aesthetic appreciation correlates with perceptual facilitation and attentional amplification

Neuroaesthetic research suggests that aesthetic appreciation results from the interaction between the object perceptual features and the perceiver's sensory processing dynamics. In the present study, we investigated the relationship between aesthetic appreciation and attentional modulation at a behavioural and psychophysiological level. In a first experiment, fifty-eight healthy participants performed a visual search task with abstract stimuli containing more or less natural spatial frequencies and subsequently were asked to give an aesthetic evaluation of the images. The results evidenced that response times were faster for more appreciated stimuli. In a second experiment, we recorded visual evoked potentials (VEPs) during exposure to the same stimuli. The results showed, only for more appreciated images, an enhancement in C1 and N1, P3 and N4 VEP components. Moreover, we found increased attention-related occipital alpha desynchronization for more appreciated images. We interpret these data as indicative of the existence of a correlation between aesthetic appreciation and perceptual processing enhancement, both at a behavioural and at a neurophysiological level.

Psychological models of art reception must be empirically grounded

We commend Menninghaus et al. for tackling the role of negative emotions in art reception. However, their model suffers from shortcomings that reduce its applicability to empirical studies of the arts: poor use of evidence, lack of integration with other models, and limited derivation of testable hypotheses. We argue that theories about art experiences should be based on empirical evidence.

Empathy-Related Responses to Depicted People in Art Works

Existing theories of empathic response to visual art works postulate the primacy of automatic embodied reaction to images based on mirror neuron mechanisms. Arguing for a more inclusive concept of empathy-related response and integrating four distinct bodies of literature, we discuss contextual, and personal factors which modulate empathic response to depicted people. We then present an integrative model of empathy-related responses to depicted people in art works. The model assumes that a response to empathy-eliciting figural artworks engages the dynamic interaction of two mutually interlinked sets of processes: socio-affective/cognitive processing, related to the person perception, and esthetic processing, primarily concerned with esthetic appreciation and judgment and attention to non-social aspects of the image. The model predicts that the specific pattern of interaction between empathy-related and esthetic processing is co-determined by several sets of factors: (i) the viewer's individual characteristics, (ii) the context variables (which include various modes of priming by narratives and other images), (iii) multidimensional features of the image, and (iv) aspects of a viewer's response. Finally we propose that the model is implemented by the interaction of functionally connected brain networks involved in socio-cognitive and esthetic processing.